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An early renaissance clavichord after following graphical evidence. this is not a copy but rather an atempt top build such an instrument using geometry and workbench knowledge as an organmaker in te 15th.c. would have perhaps done it.   The compass is F, G, A, Bb, B, c-g2, a2, pitch is 520H and it  weighs 4,5kg.

Euro  7000.00

A similar larger version, slightly heavier, C/E - c3

       Euro  7500.00

Prices includes a flight case

A clavichord  in the south-German tradition of around 1700. Fretted in the normal meantone manner with "d" and "a" unfretted, it is strung bichord throughout, from C-b° in brass and c'-c3 in soft steel. The case can be made of oak, walnut or cherry, the keys covered with either plum or box. Being a table instrument, it has no stand. C-c3

Euro 8500.00


Italian Harpsichords

The Italians are made either of true cedar, cypress or maple. Each instrument is unique: its' drawing is preserved on the bottom. The key levers of beech are covered with European box or olive, but bone can also be had at an additional price of Euro 400.00. The wooden jacks are quilled with delrin or, at no extra cost with crow. The harpsichords are strung in brass; the desired pitch is fixed with the order. A transposing device for a semitone or two semitones can be had at an additional price of Euro 300.00 but instruments with enharmonic keyboards cannot have such devices.


1. A polygonal virginal C/E-f3 or C,D-d

Euro 8 900.00

2. C/E-c3 or f3 with divided sharps for

D/F#,E/G#,d#/e flat and g#/a flat lx8'

Euro 11 200.00

Single-strung Italian;

Jürg Brunner playing M. Rossi


2 a. as above, but without the divided sharps 1x8'

Euro 10 350.00

2 b. a similar small instrument but in a very early style and strung with iron 1x8', same price as either above

Such a single strung italian strung in iron

C/e-c3 with maple case and maple soundboard

2 c. I will also make a single strung cimbalo chromatico with a 19 note octave 1x8'

Euro 14 700.00


3. C/E-f3, 2x8'

Euro 12 500.00

an example of an outer case:

4. GG/BB c3 or GG,AA-c3, 2x8'

Euro 14 000.00


5. GG-f3 false inner-outer of lime in the

Florentine style around 1750, 2x8

Euro 15 500.00



South-German harpsichord

The south-German harpsichord, although looking somewhat like an Italian, is quite a different instrument. It's bracing system with true inner rim and "A-frame" point towards the early fortepiano. Another important difference is the splaying of the jack guides, being farther apart in the bass than in treble. As a consequence, it has a more even tone with a stronger, purer treble. The visible case can be of almost any wood desired, the oak key levers covered with box or, as above, with bone. Like an Italian, it has no lid. Any reasonable compass between 4 and 5 octaves is possible at appropriate lengths.

2x8' Euro 15 600.00

Wm.Byrd: Barelye Break, Var.1

Maria Grossmann south-German of claviorgan


The Claviorganum

Wm.Byrd: Barelye Break, Var.2

Based on the south German instrument, a claviorgan is offered consisting of a chest organ onto which the above is laid and which is played from the harpsichord keyboard. Like all of my instruments, this is made only of solid wood and traditional materials with time-proven techniques. The case can be made of oak or walnut; the technical parts are of oak and lime.

This chest organ is in two parts, an upper containing the windchest, action and the pipes and a lower with the blower apparatus which can, at extra cost, be made as a foot driven feeder. The disposition I would suggest is: C,D-d3:

1. Stopped Diapason, divided at c1, the bass in true cedar, the treble as rohrflute of maple
Wm.Byrd: Barelye Break, Var.3 8'+4"

2. Flute 4", open from f°, the stopped pipes of cedar, the open ones of maple

Wm.Byrd: Barelye Break, Var.4

3. Fiftheenth, C,D,D# stopped of maple, from E open of hammered metal

4. Diapason from c1 , open of hammered metal with lead languids

Wm.Byrd: Barelye Break, Var.5


Wm.Byrd: Barelye Break, Var.6

The metal pipes are cone-tuned and secured against turning in their racks. They must remain in the chosen temperament. Both wooden stops are so adjusted that a wide range of temperments can be set, though obviously not a wide range of pitches. Normally, there is a transposing device from 415 to 440. For continuo purposes, this is sufficient. Such details must individually be discussed and have no import on the price.

the price for such a chest organ Euro 30 000 .00

to that, the harpsichord Euro 15 600.00

Euro 45 600.00

 Wm.Byrd: Barelye Break, Var.7


I also make somewhat larger organs such as this I man. 10 rank chapel organ.

or this II man renaissance style organ now in the Johanneskirche in Zürich.

C/E-f3, meantone temperament, and hand-pumped bellows.

I  restore historic organs such as this important instrument from Johann Viktor Gruol, 1809, the most important organmaker in the Duchy of Württemberg in the first half of the 19th.c.


I have devoted in part over 30 years to the study of Gruol's work and style.



I also make a two-manual version of the south German harpsichord, with or without 4'. The ones I have made have a dogleg front 8' which couples to the lower manual. A standard shove coupler would of course be possible. The one shown has no 4', but has two 8' ranks, both plucking to the left, on the lower, and the dogleg 8' plucking to the right on the upper manual. This instrument is veneered in walnut with a frame and panel lid, and is french polished. The inside is covered with hand marbled paper.




8> Dogleg


And this is the newest of this type being strung, also 3x8 but differently:





<8 Dogleg

and with the keyboards, as yet unsawn, being fitted.

Finished and me breaking it in


 other German Harpsichords

At present , I offer a II-man instrument after Michael Miethke. This is based on the information to be gotten from the Berlin II-manual and the Swedish single. The Berlin instrument is much altered, but the case as such is not enlarged, and from the wrestplank, the original compass can be seen. Unlike many, I have decided that this instrument was probably originally strung with brass like the other two. With this in mind, I have "retro-designed" a II-manual to fit this case strung with brass scaling. Because a transposer is necessary, the lowest original note, FF has been left off to allow the keyboard to slide down. I have, like the Charlottenburg instrument, extended the compass to e3. To solve the problem of a viable 4' scale in brass, I have simply allowed the 4' to stop at c3 just as Miethke did. Otherwise, the instrument is identical to the original in framing, dimensions, and choice of woods. There are three ranks of jacks, in splayed box registers and a shove coupler.

II manual after Miethke: I manual 8'+4', II manual 8', shove coupler, 415-440, standard stand

Euro 22 300.00

Franco-Flemish Harpsichords

A 6' muselar after Johannes Ruckers, 1623, C/E - c3, 410h, the case of poplar or willow, keyboard bone covered. The original has a 14" scale, thus was made for low pitch (±390). A 6' muselar usually has 13" scale, thus for tuto punto = ±410h. Following Ruckers, I move the "magic point" from 7" to 8" from the right edge and thus gain the standard 13" scale.

in Basel

Euro 8500,00

A bentside spinet after the last extant instrument  made by Albert Delin († 1771) in 1770.  It is made of poplar or lime with an ebony covered keyboard exactly like those of Delin and has the original compass of C - e3 at 415Hz.  Contrary to popular misconceptions, spinet from truely great makers like Delin were anything but cheap small alternatives to a "real" harpsichord. 

Euro 8900,00

The Flemish harpsichord, based on those of Albert Delin, is made of lime. The keys are covered with ebony or, as above, with bone. The compass is GG-e3 at 415Hz and a transposing device can be had for the additional DM 600.00, however, without the additional notes. It is strung in soft steel, brass and red brass. I Manual 8',8', buff

Euro 15 900.00

Prelude, Partita Nº.4 Bach

bending a bentside

Oh Gott, Du frommer Gott, var. with buff, same Delin, same concert as above

The one manual harpsichord based on Andreas Ruckers instruments is made of willow. The compass is C/E - c3. There is one 8' and one 4,' and buff. The keys are covered with bone, the sharps of bog oak. The lid is in one piece, but can be made in two pieces for a slight fee.

Euro 10 300.00

drilling jacks

The one manual harpsichord based on the Andreas I Ruckers 1640, Hotel du Croix, Namur, is also made of willow. The compass can be as on the original GG/BB-c3 at 415Hz or as a "petit ravalement" GG,AA-c3 with transposing device 415-440Hz. There is one 8' with two ranks of jacks and one 4' and buff. The keys are covered with bone, the sharps of bog oak. As on the original, the lid is in one piece.

Euro 14 700.00

above instrument

Beginning and End of Muffat Passacaglia

played on back 8', then both jacks on the same string

The two manual Flemish harpsichord, based on the Ruckers instruments, is also a "petit ravalement" extending from GG - c3 or d3 with 2x8' + 4'. Two dispositions are possible: I - 8' + 4', II 8' + coupler or I - 8'+4', II - 8' dogleg

Euro 19 600.00


rose from H.Knopf for the last Donzelague

The French harpsichord is a copy of the instrument built in 1710 by Pierre Donzelague à Lion. Its case, too, is made of willow except for the bottom which is of fir. Its 5 octave keyboards are covered with ebony with bone-covered sharps. It has the standard "French" disposition of 8', 4', 8', buff and shove coupler. Because of its early date, this represents an instrument that was already in existence when Couperin and Rameau were writing.

Euro 21 400.00



case of above instrument

Jacques Duphly, la de Vaucanson,

Alfred Gross


1. A clavichord stored in the Württembergisches Landesmuseum Stuttgart, anon. ca. l700, fretted C/E-c3 with F#+G#

Euro 7 700 .00

2. An Italian harpsichord exhibited at the Württ. Landesmuseum, anon. but probably Venetian, ca. l600, C/E-f3, 2x8', a=438Hz, Arpichordum and pull-down pedal C/E-c°

Euro 17 000.00

3. The so-called French Harpsichord  exhibited at the Württ.Landesmuseum, anon. possibly Claude LaBreche, Carpentras, around 1660, solid walnut, I Man. 2x8', II Man 4' no coupler GG - c3

Euro 24 000.00

4. A fortepiano built using the workshop geometry of Johann Andreas Stein, Augsburg, as in the 1783 instrument in the Württ. Landesmuseum, FF-f3, kneelevers for forte; this is not a copy of a specific instrument but rather a copy of design methods, thus a new instrument designed from scratch.

Euro 36 300.00

5. A fortepiano by AntonWalter, Vienna, 1785?, Germanisches Nationalmuseum, MIR 1098, FF-f3, hand stops for forte and moderator

Euro 31 600.00

original Schiedmayer tuning hammer

6. A fortepiano by Johann David Schiedmayer, Erlangen 1794 FF-f3, kneelevers for forte and moderator

Euro 35 500.00

a hammer of one of my "Schiedmayers"


Alfred Gross


6. A Tangentenflügel by Späth&Schmahl, Regensburg about 1770 from the Württ.Landesmuseum FF - f3, Kneelever for forte, handstops for moderator, una chorda and harp and treble dampers

Euro 39 000.00



7. A fortepiano by Nanette Streicher, Vienna, 1814, FF-f4 4 pedals: una chorda, Fagott, moderator and forte

Euro 49 000.00

top and bottom hammers of one of my "Streichers"

the original along with another Viennese piano I restored


Bagatelle No.6

Prof. Hauer, Karlsruhe



The instrument N°. 3 was restored by Christopher Nobbs, London, N°s. 2 and by me. No. 5 was conserved and a replica made by me for the museum. No. 1 is unrestored.